Until today, out-of-body experiences raise eyebrows, and for some, they would rather shrug it off as mere dreams with nothing beyond that. Dreams and reality do not meet for many. In this film though, the two are merged with a lot of ease (McElroy, 2007). As the story opens, detective Toshimi Konakawa is seeing Paprika for counseling. He has a recurring dream that has disturbed him for quite a while. As much as disembodied experiences are not as credible to the natural senses as other forms of reality, they are real, and they exist.
If we become obsessed so much with disembodied experiences than in other easily tangible reality, we can be overwhelmed. Individuals cannot understand the nature of this other reality that is a bit too abstract (Haddock, 2001). This is what happens to Doctor Torataro Shima when he realizes that the gadget he treasured had been stolen and there was no hope of getting it back. He almost commits suicide. To Shima, this scientific discovery is like a dream and the experience makes him walk on clouds. Dreams and out-of-body experiences are pleasurable, but it is clear too that there is a big disconnect between reality and such experience.
Many people including philosophers of ancient time agree that dreams come to reveal things repressed in to our unconscious mind. In this film, when people get to move around freely and interact in dreams, they are in a way building on the same premises. As Konakawa comes to realize later as the film closes, the blanks he had been having in his recurrent dreams were as a result of an unfinished film that they wanted to produce with deceased friend. Another eminent element is that experience in dreams and out-of-body episodes can actualize in the reality. In his constant dream, and in his role, in the film, he acts as a cop; just what they had agreed with his deceased friend when preparing for their movie (Schofield, 2004).
Paprika is almost